Track 5 Good eno’ (Yuh Look Good Oonuh)

So sitting outside the booth at RTR with my friend and then drummer of
local reggae outfit Ichinen, Sean “Drummie S” Wootton, I zoned out and
let the varied rhythms promoted on the “Jamdown Vershun” radio show
spirit me away from the realities of city living. Occasionally, I would
let a lazy gaze fall upon the RTR staffers as they came and went: “here
comes Trisha Wicked”, “there goes General Justice”. To be honest, after
an hour I was somewhere between asleep and almost asleep. Too chilled
and relaxed. Reggae will do that to you on a late summer Saturday

“Mi darlin’, love. You are mi ev’ryt’in. Mi fresh vegetable mi fruit…”
bawled one General Degree over a simple ensemble of rim shots, bass and

I had already sat bolt upright and nudging Drummie let out a short,
sharp “Bo!” What was this new song? None other than “Yuh Look Good
Oonuh”. I told Drummie that we would have to do this song one day but it
never really happened until I landed on the east coast of Australia and
joined a band. More than a decade later, “Good eno”, as we at Frieda’s
Boss call it, had become a regular on our set list and one that
routinely incites the liveliest response from audiences at small, cafe
gigs to packed out Uni shows.

When played lived, "Good Eno" features a lot of crowd interaction as we
accelerate from a funky one drop circa 95bpm to well past 130bpm during
a frenzied ska dance segue that leaves the audience, rhythm section and
guitar players absolutely f-f-fatigued!... and then we plunge straight
back in with an emphatic ragga reprise before heading for the home
stretch. This is without doubt the most physically demanding song I, we,
have played and you can check out some youtube footage of Frieda’s Boss
being put through there paces.

So how did we transfer all the energy, sweat and foot-stomping chaos of
the live show to the recording studio? We didn’t try, instead
preferring to render a measured nod to the original while still
preserving the anatomy of what we do onstage.

Listen to the track, then come and see the show.


Track 6  Lack of Trust

"She knew I was a musician/sports nut/ workaholic/petrol-head when we first got together... and now it's a problem?"


"She had a bad experience with a cheating ex so..."


These two commonly heard phrases prompted the writing of "Lack of Trust".  A self-confessed people watcher and part time provocateur, I've seen the poisonous seeds of distrust sown with abandon over the years in loungerooms, bars and before and after buck's night.  Inevitably the harvest offers forth wild accusations, baseless extrapolation and of course...the Spanish Inquisition which, I'm told, no-one ever expects (apologies to the Monty Python crew).


Ignoring hasty admissions in songs like "Easy to Say", about coins having two sides, I myopically and possibly ill-advisedly decided to write this song from the exasperated male muso point of view.  I guess, "Lack of Trust" tries to capture and bottle the feelings of exasperation when subjected to the telling and retelling of stories about "people I know" who have broken up because of infidelity, real or imagined.  Even worse, when the moral of such allegories are applied to the unsuspecting muso in question.  Inevitably, charges are laid and that's when you realise that you should have kept that lawyer on retainer.


"Sometimes there's nothing more to see, than an innocent me behaving innocently" is the explanation offered in the bridge by our protagonist but it's all for nought because lack of trust has already darkened the heart.  Oh well.


But it can't be all doom and gloom so enter the jovial key of "G", a wicked "split tempo" ska rhythm skilfully rendered by Dman and Maximus in the engine room.   Ska is great for these sorts of themes because of the incessant, double time skank lending an insistant air of impatience/urgency to the piece and both Cisco and Tamlin T. Kirk revel in the genre.  The one-drop sandwich featuring the ska-filling provides a metronomic narration to the argument, mimicking the pattern of rational discussion devolving into haughty agitation, vitriol, exasperation and desperation and finally resignation.  To cement the happy vibe and paint over the cracks of discontent we constructed a full, harmonic vocal backing.  Hopefully it didn't dilute the intent too much.

Plenty to think about or... simply focus on the rhythm and enjoy.